Mark Tidd, Editor — Inside the Classic

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Kelland, Clarence Budington, 1881-1964, Clarke, William Wallace [Illustrator] Project Gutenberg 2013 Not confirmed
Friendship -- Juvenile fiction; Boys -- Juvenile fiction; Michigan -- Juvenile fiction; Newspaper editors -- Juvenile fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 64,899
Reading time 283 min
Text sections 25

The source record for Mark Tidd, Editor — Inside the Classic measures this digital text at 64,899 words, 4 hr 43 min estimated reading time, and 25 detected text sections.

The text analysis averages about 13.4 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Friendship -- Juvenile fiction,” connecting these edition facts with the source record’s subject description.

In this early-20th-century boys' adventure, Mark Tidd and his friends take over a failing newspaper, the Wicksville Trumpet. The opening chapters establish Mark's shrewd, stuttering voice and his knack for turning casual remarks into plans, while later excerpts show him applying that same method to local politics.
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Editorial Edition Score 4.9/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Read the Text

f _peek_ up over his fat cheeks. “Binney,” says he, “you hain’t as useless as I calc’lated. That’s an idea.”

“Oh,” says I, “is that what it is? I sort of figgered maybe it was a notion.”

Mark turned the whole of him around so he could face Plunk Smalley and Tallow Martin, who were standing behind him. By rights you ought to have a turn-table to move Mark around on, like they have for locomotives. He’s ’most as heavy as a locomotive, and when he talks sometimes it sounds like a locomotive pulling a load up-hill, snorting and puffing—he stutters so.

“Fellows,” says he, “this Binney Jenks is g-g-gettin’ so he talks like a minstrel show. Makes reg’lar j-jokes one right after another. Looks l-like he hain’t got time to be sensible any more.”

“But what’s the idea?” says Tallow.

“Want to talk to my father first,” says Mark. “C-come on.”

Mark’s father didn’t use to have any money at all. He just sat around inventing things and reading Gibbon’s _Decline and Fall of the Roman Empire_. First he’d invent a little, and then he’d read a little, and it was a wonder he didn’t get the two mixed up. But finally he up and invented a turbine-engine, and it made such a pile of money for him that he didn’t need to do a thing but read Gibbon and carry bushel-baskets of dollars to the bank every little while.

Usually when a man goes and gets rich all of a sudden there’s some difference in him. He builds him a big house and hires a lot of folks to brush his clothes and make his beds and cook chicken for him three meals a day. But not Mr. Tidd. You wouldn’t ever think he had a cent more than he used to. He kept his little machine-shop in the barn, and wore overalls mostly—when he didn’t get on his Sunday suit by mistake. He was as like as not to do that very thing, if Mark’s mother didn’t keep her eye on him. He was a fine kind of a man, but he couldn’t remember things for a cent. If Mrs. Tidd sent him to the grocery for a bottle of vanilla, he’d like as not bring home a bag of onions. As far as he’d get with remembering, you see, would be that he wanted something with a smell to it.

Mrs. Tidd was fine, too. She scolded quite considerable, but that was just make-believe. If you’d come in sudden and tell her you were hungry and wanted a piece of bread-and-butter she’d sort of frown, and say you couldn’t have it and that it wasn’t good for boys to be stuffing themselves between meals—and then, most likely, she’d call you back and give you a piece of pie.

Getting rich hadn’t changed her, either. Once she tried keeping a hired girl, but it only lasted a week. She claimed it was more work following the girl around and saving what she wasted than it was to do the work itself.

Well, we hustled up to Mark’s house and went back to his father’s shop. Mr. Tidd, in greasy overalls, sat right smack in the middle of the floor, reading a book that looked like it was pretty close to worn out. We didn’t have to ask what it was—it was Gibbon. He didn’t need to read it; he could have _recited_ it if he’d a mind to.

“Hello, pa,” says Mark.

Mr. Tidd looked up sort of vague, as if he wondered who this stranger could be. Then he says: “Howdy, Marcus Aurelius. I was hopin’ maybe you’d drop in. Young eyes is better ’n old ones. Take a sort of a kind of a look around to see if you can find a chunk of lead—about four inches square and six inches long. Pretty hefty it was. Don’t see how I come to mislay it.”

We looked and looked, and no lead was anywhere to be found. But Mark did find a package with two pounds of butter in it.

“What’s the b-b-butter for, pa?” he asked.

“Why,” says Mr. Tidd, scratching his head, “why, seems to me like your ma sent me after that butter. Guess I must ’a’ fetched it in and clean forgot it.”

“Um!” says Mark, and out of the shop he went. In two minutes he came back, lugging the chunk of lead.

“Where’d you git it, Marcus Aurelius?” says Mr. Tidd.

The first chapter of Mark Tidd, Editor introduces the narrator, Binney Jenks, and his friend Mark Tidd through a conversation about the Wicksville Trumpet. Mark declares the paper is “b-b-busted,” and Binney retorts that it has been “cracked for quite a spell.” The exchange immediately establishes Mark’s stutter—rendered as repeated consonants—and Binney’s dry, colloquial wit. Mark’s father, an inventor who struck it rich with a turbine engine but still wears overalls and forgets errands, provides a comic backdrop. The boys’ plan to revive the Trumpet emerges not from a grand scheme but from Binney’s offhand remark, which Mark seizes as “an idea.”

Voice and Narration

The story is told entirely in first person by Binney Jenks, whose dialect is thick with contractions and rural phrasing: “I calc’late,” “hain’t,” “perty.” Mark’s stutter is written out as repeated letters (“b-b-busted,” “g-g-gettin’”), a device that slows his speech and signals thoughtfulness. The narration often includes direct dialogue without attribution tags, relying on context and punctuation to indicate speakers. For example, when Mark says “Fellows, this Binney Jenks is g-g-gettin’ so he talks like a minstrel show,” the line is followed by Tallow’s question without a “said Tallow.” This technique keeps the pace brisk and mimics spoken conversation.

The Newspaper as a Lens

The Trumpet is not just a setting but a catalyst for the plot. Mark’s first move as editor is to sell advertising at the county fair, which leads the boys into the world of local politics. The paper’s financial trouble is described metaphorically: “it hain’t been tootin’ loud enough to notice for a year.” Later, Mark justifies eavesdropping on political rivals by saying, “Newspaper men, hain’t we?” The paper becomes a license to investigate, and the boys’ amateur status is both a limitation and an advantage—they are underestimated by adults.

Political Intrigue and Deduction

In the fairground excerpt, Mark spots two men—Brown and Wiggins—meeting in secret. He reasons that since they are political enemies, their private meeting is suspicious. Through a series of logical steps, he deduces that they might be conspiring about the sheriff’s race. He does not need to eavesdrop; he already knows enough from public knowledge. This scene showcases Mark’s method: gathering facts, asking questions, and connecting dots. The reader sees his mind at work, and the payoff is a quiet chuckle rather than a dramatic revelation.

Humor Through Understatement

The humor in the excerpts relies on deadpan delivery and absurd comparisons. Mark’s size is described with a simile: “you ought to have a turn-table to move Mark around on, like they have for locomotives.” Binney’s self-deprecating lines—“Oh, is that what it is? I sort of figgered maybe it was a notion”—undercut Mark’s praise. Even the father’s absentmindedness is played for laughs: he might bring home a bag of sugar instead of vanilla. The tone is consistently light, with no scene played for high stakes; even political scheming is treated as a puzzle.

Readers approaching Mark Tidd, Editor for the first time should pay attention to how Binney’s narration shapes the story. His voice is the filter through which all events pass, and his dry observations often carry the humor. Mark’s stutter, far from being a weakness, becomes a marker of his careful thinking. The political subplot, introduced midway, rewards attention to small details—a chance remark, a hidden meeting—that Mark turns into clues.

I remember my grandfather’s old stack of them, smelling of attic dust, and how a quiet afternoon slipped away into Mark Tidd’s plotting. It’s the same steady pulse I felt later in Wings over England — Inside the Classic, where patience, not speed, carried a boy forward. That unhurried courage lingers. I still half expect to find those boys around a corner.

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